Reflections on my first year as a first-time Black queer woman author

Writing a book is hard. Promoting one is harder. Here's one way to do it.

On January 23rd, 2024, I released my first book, Black Women Taught Us: An Intimate History of Black Feminism. I honestly had no idea what was in store for me as most of my close friends are unpublished and none have worked with large publishing houses. Publishing and promoting my book as a first-time Black queer woman author was one of the most difficult things I have ever done. There were obstacles related to my own inexperience, some connected to the natural and uncontrollable issues that arise generally, and others that were deeply rooted in gatekeeping I confronted at every level of the publishing industry.

Being on this journey showed me that there is so much about publishing and book promotion that us first-time authors just don’t understand. So, here is a reflection of all the things I wish I knew when I started this journey a year ago in hopes that I can make the road less bumpy for those first-time Black women and queer authors coming up behind me.

Working With a Big Five Publisher on a Book Tour

I was lucky because my publisher found me from my Teen Vogue column years ago. I actually met my editor at Penguin Random House in 2018 when she reached out to me about interest in my writing a book. At the time, she was working at Liveright Publishing and later moved to Penguin. This is not common. Most authors won’t have connections with publishers before their book is written. Instead, it is more common that, after signing with a literary agent and selling their book, new authors will need to develop their relationship with their publisher after the book has already been framed out. Either way, it’s important to set clear expectations for how you would like the relationship with the editor and publishing team to work during the writing process, after the book is accepted, and once the book is in print.

Most large publishers will pay for travel and lodging associated with the first month of book promotions. They often assign a publicist whose job it is to highlight and market a book during the first few weeks after it is released. The publicists are great because they have in-house connections with bookstores, other authors, and agents who may be able to help promote a new book. However, these publicists may also be limited in that they may not have the background and experience in promoting books for every niche. This is important to know and understand before going on tour.

For example, my book is about Black, queer, and disabled women and radical social organizing. Most large publishing houses do not work in community with organizers and marginalized readers. This is where it is important for authors to speak up and be clear about who they want to engage with the book, what cities and stores they would like to visit on their tour, and how they intend to reach their target audiences. For me, this meant that I would need to foster connections with Black owned bookstores, podcasters, and academics who were in my target audience. I made sure that every stop on my book tour was at a Black, Brown, queer, women, or indie owned bookstore. I avoided big box retailers and promoted local sellers to all of my readers. While my publisher was completely supportive of these efforts, the labor fell mostly on me.

I recommend getting a publishing assistant. This is someone who can help manage emails, take care of scheduling needs, create graphics, contact bookstores, and ensure that books are shipped to the proper locations. If you have a book website (or personal website - which you should), this person may also help with updating your site with upcoming events. My publishing assistant worked with my publisher to build a Google Document with all of my events, podcasts, radio appearances, and other details (including contact information for bookstores, hotel and travel confirmation numbers and any other hosting reservations) so that I had everything in one place. As a high anxiety, neurodivergent person, this was critical to my success navigating day of emergencies.

The point is: don’t do it alone. Build a community of supportive folks before the book tour begins, people who are willing to pitch in with their talents an strengths. Then, let them.

Making Connections with Bookstores and Podcasts

I will admit that I didn’t understand the amount of lead time that is necessary when promoting a new book. Most of the largest and most popular bookstores across the country prefer that events with them are booked out three to six months in advance. If the book release happens to be during one of the busier times of the year (like fall/holiday season or late spring), they may want even more time than that. The key here is that authors begin building genuine connections with booksellers and bookstores well in advance of their book’s release date. That will increase the likelihood that store owners and staff will remember them and be excited to work with them once their books are on the shelves.

Now, we have to talk about gatekeeping. People don’t like to discuss it because it’s pretty shameful and makes the industry look bad. But, just like any other field (especially academia) the hidden rules, relationships, hierarchies, and expectations in publishing can feel overwhelming to navigate at times. It’s better to speak about it openly than to pretend as if these barriers aren’t real.

First, there is major gatekeeping related to the overwhelming whiteness of books and bookselling all over the world. Bookstores are largely white-owned and they cater to white authors. This means that white authors often get priority in scheduling events and even on displays in the stores themselves. This shows up in marketing and promotions, too. So, as a first-time author, you will need to be savvy at multimedia marketing tools like Canva and CapCut (or hire someone else who is) so that you can create dynamic images and graphics that engage potential readers. I made graphics for 80% of my events last year. At this point, I just assume this will be a part of the process.

Second, there is gatekeeping related to the cliques which emerge among established authors, podcasts, and other book promoters. Everyone is hoping to support their own work and keep their bookstores and podcasts alive. Indie bookstores are struggling to remain open. Indie podcasts are struggling to grow and find listeners and viewers. Even established authors have concerns about their next book’s success. So, when a new up-and-coming author tries to join these networks, it can often feel completely closed off. I have to be honest here and say: even other Black women, queer and trans folks, and marginalized writers will hoard resources, access, and exposure. Many people move from a place of scarcity rather than abundance.

To this, I recommend that first-time authors not focus on the people who do not support them and their work. Rather than lament the podcasts that don’t reply, the authors who don’t give a shout out, or the book-stagrammers who say nothing about the book at all, shift your focus to the people who are excited about your book. Lean in to the places where readers, authors, podcasters, booksellers, and promoters are supportive and consistent. Those are your people. And, those are the people you should be building with.

Lastly, prepare for incredible let downs and amazing triumphs. Prepare for surprises you could never imagine in the form of readers being touched and changed by your writing. Prepare for those experiences to happen right alongside a major rejection from a book festival or award. Writing books, like creating any art, is a vulnerable act. It’s terrifying, liberating, world-making, and, in some instances, humiliating. Putting your work out there to be judged by other people is courageous and awe-inspiring. It will move some toward their truest selves and others will toss it to the side like a dirty dish rag. The dissonance will not feel good. But, that is the work of the artist, to hold the complexity of this tradition and struggle with it every single day. It is our life’s work to hold many truths simultaneously, to place them on the page, and then release them to our readers, critics, and editors. We are wild free ones.

Creating and Holding Space For Us

One of the things about being a Black, queer, trans, disabled, first-time author is that I can see many gaps in the industry that are not typically visible to other people. During this process, I immediately noticed the lack of accessibility for disabled folks both physically and mentally in the promotion process. Many bookstores were not accessible for wheelchairs and book talk schedules often did not accommodate for hyperstimulation or a need to manage anxiety. In response, I worked with my assistant to draft an Accessibility Statement to forward along before my talks so that event hosts would be aware of my specific needs in advance of my arrival. This document detailed my need for a quiet space before the event, access to cold water and a chair during the talk, and even notes about the duration of time on-stage. These types of professional boundaries are important especially for those of us navigating physical and mental disabilities.

More than anything, the book tour showed me that there were (and are) many hidden strategies and techniques to navigate publishing at these many intersections. I’ve seen other authors share how they only do talks in their local community due to mobility concerns. Others have noted that they, much like me, choose to promote their books only with indie bookstores rather than big box locations. All of these forms of wisdom would have been critical for me as I began my journey. So, I want to consolidate it for other authors.

In response, I am creating a podcast focused on demystifying the publishing process for first-time Black and queer authors called, “We Published, Beloved!” In the coming weeks, I will be interviewing new and seasoned authors about their early experiences in the publishing industry. You can follow the podcast on Instagram, Threads, Facebook, and find us at WePublishedPod.com.

I fundamentally believe that Black women and queer folks have a right to tell our stories in our own words and own voices. One way that we can elevate that work is by paying it forward and supporting the authors who are coming up next. That’s what this new podcast is all about. I hope you’ll join me there.